First off, if you want to know the logic behind what your sequence settings should be and when to render and not render, see these two posts, Sequence Settings Part 1 and Part2.
This post is intended to be a look at the differences in what will require rendering and re-rendering in FCP vs. Premiere Pro.
Adobe has introduced a totally new playback engine in Premiere Pro CS6. What does that mean to the end user? It means no more AJA, Blackmagic, Matrox, etc. sequences needed for third party playback to your broadcast monitors. You still need the cards obviously, just not a branded sequence to play back with them. It also hopefully means an end to playback issues seen in previous versions.
In this quick Premiere Pro CS6 tutorial, I go over the basics of using the new Toggle Full Screen feature. This feature lets you quickly toggle your primary or secondary monitor to become a full screen display for the video you are editing. It’s particularly helpful when editing on a smaller resolution screen or on a screen that is not connected to an external broadcast monitor.
Credits: Thanks to John Gumaer for doing the intro sound design.
Premiere Pro CS6 brings about the addition of a beautiful new thumbnail display. This feature, which includes the ability to scale your thumbnails from very small to large, also includes a new feature known as Hover Scrub.
The audio track setup in Premiere has been completed reworked in CS6. Stereo and mono tracks are no longer, having been totally replaced by standard tracks, that can hold both stereo and mono audio. In addition to the new track behavior, Premiere Pro CS6 has been given a new audio meter that is scalable to be anywhere from tiny to as large as full screen.
Premiere Pro CS6 brings the stabilization power of After Effects CS5.5 and later right into your timeline. If you have a shaky clip, you can edit it into your sequence, apply the Warp Stabilize effect, and continue to work as Premiere stabilizes the edited portion of the clip in the background. This effect, which gives results formerly only possible from advanced tracking and stabilization methods, lets you smooth out your clips effortlessly. In this video I demonstrate the results from both smoothing motion and completely removing motion and show you some of the more advanced options in the effect.
The Warp Stabilizer, while not a replacement for well shot footage, will be a welcome addition to all editors and is a great new tool in Premiere Pro CS6’s arsenal.
Credits: Thanks to John Gumaer for doing the intro sound design.
In Part 1 of this series I cover using standard tracks. In this video I cover how to layout multi-track mono splits for 5.1 workflows. I show you how you can layout splits given to you by a mixer and the best way to set up your tracks and audio mixer panel in Premiere Pro CS6 to insure your tracks are output correctly.
Credits: Thanks to John Gumaer for doing the intro sound design.
Borrowing from it’s sister application After Effects, Premiere Pro CS6 has added the hugely powerful concept of Adjustment Layers directly into the editing environment. This new feature is an amazing advancement for tasks such as color correction, but its uses are infinite.
Trimming has seen a total overhaul in Premiere Pro CS6, and with its new features, Premiere’s timeline editing tools are among the best in the industry. The new feature set gives you the power to do almost all of your main editing functions without ever switching tools. Featuring the best of both Avid’s Smart Tools and Final Cut Pro 7’s timeline editing functions Adobe has designed what is truly a powerful and exciting new editing environment.
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In this Premiere Pro tutorial we discuss how to batch render multiple sequences in Adobe Premiere Pro. You may be thinking, I didn’t think you could that! And you are right. It is a bad shortcoming in the software. And until Adobe fixes it. Here is a work around that just might speed up your workflow and get you home earlier.